Introduction to Theka Prakar

Prakar means variation. So, as the name suggests, theka prakar is a form of making variations based on the theka.

A speciality of the Benares gharana, theka prakar is traditionally performed in tabla solo, usually just after the opening uthan. It is less commonly performed by players from other gharanas.

Unlike the kayda or tukra, theka prakar is not a standardized compositional form. It is primarily a performance-form which is only loosely defined. Perhaps for this reason, Chhotelal Misra did not discuss theka prakar in any of his books, though he did teach it to his students.

Theka prakar is most commonly performed in tintal (a 16-beat cycle) in vilambit lay (slow tempo), but usually at 4x speed. So it gives the feeling of a madhya lay, or drut lay theka (medium or fast tempo theka) played inside of vilambit tintal.

In tabla solo, theka prakar is similar to peshkar, both in mood and how it is developed. But as we discuss below, there are also significant differences.

Here are some general characteristics of theka prakar:

• Based on the tintal theka pattern
• Most often performed in vilambit lay (slow tempo) but in chaugun (4:1)
• Allows for a flexible tali-khali pattern
• Contrasts off-beat and on-beat stress, similar to peshkar
• Allows the use of phrases not found in theme
• Often moves to a non-theme composition or improvisation, similar to peshkar

We will look at all of these characteristics below.

The Tintal Theka Pattern in Theka Prakar

Theka prakar patterns are based on the tintal theka pattern, but usually played in chaugun (4:1) in vilambit lay (slow tempo).

Here is the standard tintal theka in ekgun (1:1):

And here is the tintal theka at chaugun (4:1), repeating 4 times within 1 round of the tal:

However, the standard tintal theka is rarely played in theka prakar. Usually it is a pattern that includes other bols such as dhage, tete or traka. And dha is often substituted with na. But the tintal theka pattern remains underneath.

The theka prakar example given at the beginning of this section is an example of this. If we compare 4 matras of the tintal theka with 4 matras of theka prakar, we can see that the theka pattern is still there:

Tali-Khali Pattern is Flexible

Although theka prakar uses a pattern based on the tintal theka, the tali-khali pattern as shown in the baya (bass drum) does not always follow that of the theka. Players are very free in this regard and will sometimes change the length of their tali-khali patterns from round to round of the tal.

In the theka prakar example given at the beginning of this section, the tali-khali pattern is similar to that of the theka at 4x speed; it completes a full cycle in 4 matras:

This pattern, as we saw above, is then repeated 4 times inside of 1 round of tintal:

But it also common to play a tali-khali pattern which repeats every 8 matras:

This pattern would then repeat twice inside of one round of tintal:

Or a player could play a theka prakar pattern which matches the tali-khali pattern of the tal beneath, completing in 1 full round:

Here theka prakar differs from peshkar, which generally follows the underlying tali-khali pattern of the tal.

Rearranging Bols, adding Gaps and Stress

After establishing the basic theka prakar groove, players will begin to improvise in a number of common ways. Often they will first improvise with the bols of the theka only, rearranging them, adding gaps, and playing with stress.

Here again is the theme given above:

And here is a variation which rearranges the bols of the theka in matras 2 and 3:

And here is a variation which uses gaps:

And another which uses gaps:

Variations such as these focus on stress, timing, and groove, sometimes with a feeling similar to peshkar.

Non-Theme Bols and Layakari in Theka Prakar

As in peshkar performance, players may introduce news bols which are not in the theme, and improvise with layakari, going back and forth between bols in a different division and theka prakar bols.

However, unlike peshkar, new bols in theka prakar do not usually contrast as strongly with the theme. Most often, they are built around theka bols. There is also generally less layakari improvisation in theka prakar than in peshkar (these are by no means rules, but only traditional characteristics).

Below is an example which uses the bol dhigedhinnagina (8:1 speed) in matras 1–2 and then returns to the theme in matras 3–4:

Another variation uses the bol kitatakatirakita takatakatirakita:

The two variations above use bols in barabar lay (even divisions), but bols in aralay (such as 6:1 and 12:1) are also sometimes used.

Below is a variation with bols in 12:1, followed by theme-bols in 4:1:

Theka Prakar to Kayda, Rela, or Improvisation

In tabla solo, it is common for performers to move from theka prakar to a kaya, bant, rela, or improvisation with non-theme bols.

In the performance by Chhotelal Misra below, he begins to introduce kayda bols, while still returning to theka prakar:

After going back and forth from the kayda to theka prakar, he then goes fully into the kayda, creates typical kayda variations, and then finishes with a tihai (see the performance outline below).

This again is very similar to peshkar performance.

Theka Prakar Performance by Chhotelal Misra

Below is one of the few recordings where Chhotelal plays theka prakar. Unlike most Benarsi tabla players, he preferred to play peshkar in his solos. It was recorded in California in the late 1970s for the Ravi Shankar Music Circle.

Chhotelal’s theka prakar includes all of the elements given above:

• Begins with a theka prakar theme
• Creates variations by rearranging theka bols, adding gaps, and playing with stress
• Starts to add kayda bols such as dhaginadha trakadhina dhagetraka dhinnagina (starting around 1:45)
• Leaves theka prakar and improvises with above kayda
• Concludes with a tihai

(listen online)